The opening lines “Listen I love you. Do not turn your face / Nor touch me.” reflect the somber feelings encompassing Sara Teasdale’s poem. Paired voices initially express contrapuntal melodic lines enhanced by underlying harmony and slow syncopation in the piano accompaniment. The middle and final sections imbued with sad words such as “let me ease my heart ” “with broken wing” and “Forget that I am speaking ” evolve beautifully within contrasting tonal regions supported by undulating keyboard arpeggios. One of a set of six of Teasdale's love songs. Duration: 2:00

Sara Teasdale’s poem The Mystery depicts deep lasting love - “Your eyes drink of me” and “We have long been lovers”. It also raises a question - “Can I ever know you / Or you know me?” Stephen Chatman’s expressive setting begins with a unison melody supported by modulating harmonies in the piano accompaniment and evolves toward four-part voices. The middle section featuring rising vocal lines in imitative counterpoint precedes a return to the initial melody. One of a set of six of Teasdale's love songs. Duration: 2:30

The composer's initial use of the Scottish snap rhythm becomes a recurring motif throughout the piece. Strong almost fanfare-like declamations of the Isaiah 40 text alternate with imitative sections and soaring text painting giving a tremendous dynamic and emotional variety to this setting. The only divisi is in the soprano and occurs fairly frequently. Duration: 3:30

The texts for this set of three songs are mostly from the 19th century but the sentiments are ageless. The special imagery in each of the poems finds its way into the musical setting. Evening Song features moonlight sparkling on glimmering waves. The Cloths of Heaven has the lover yearning to give his beloved beautiful gifts. She Walks in Beauty provides a strong close to the set with a quote from the Song of Solomon (Set Me As A Seal) as a coda. Duration: 9:00 Contents: 1. Evening Song 2. The Cloths of Heaven 3. She Walks in Beauty

The opening line of Sara Teasdale’s poem After Love “There is no magic any more ” establishes the theme of vanishing love. Stephen Chatman’s setting of the poignant text in the key of E flat major emphasizes the natural rhythm of the words mixed meters and irregular phrase lengths. The climax of the melody embraces sustained intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open transparent harmonies this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00 The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open transparent harmonies this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00.

Chamber Orchestra Set of Parts

Organ/Choral Score-In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the third movement Hodie Christus natus based on the familiar Christmas text Today Christ is born today the Savior has appeared. Themovement begins majestically with the singers declaiming the text against a descending pedal motif. At measure 11 the tempo jumps to Vivo and the descending motif dances through the vocal lines. Light joyful the organ supports and punctuates and finally gets the descending melody all to itself as the choir sings Gloria in excelsis Deo. In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the third movement Hodie Christus natus based on the familiar Christmas text Today Christ is born today the Savior has appeared. Themovement begins majestically with the singers declaiming the text against a descending pedal motif. At measure 11 the tempo jumps to Vivo and the descending motif dances through the vocal lines. Light joyful the organ supports and punctuates and finally gets the descending melody all to itself as the choir sings Gloria in excelsis Deo.

Instrumental Parts

String Parts

from Breaking from Suite Remembrance-A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the third of the set. The touching text by Emily Dickinson is set to music in the form of an expressive Sarabande. Duration: 4:00 A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the third of the set. The touching text by Emily Dickinson is set to music in the form of an expressive Sarabande. Duration: 4:00

Organ/Choral Score-More Love is the cornerstone movement of Songs for the Journey which was commissioned in 2010 to be performed alongside Gabriel Faure's Requiem and utilizes the same sonorous combination of horns harp organ violas cellos and bass. Songs for the Journey outlines and explores similar themes as the traditional Latin Requiem - love faith mortality surrender to an eternal will etc. - but in a less ecclesiastical framework with poems and texts drawn from a variety of sources. In assembling the texts words of a particularly personal nature were chosen to echo Faure's intent. The musical style of More Love is simple and direct and the message is positive and affirming making it appropriate for a variety of performance settings. Duration: 3:15 More Love is the cornerstone movement of Songs for the Journey which was commissioned in 2010 to be performed alongside Gabriel Faure's Requiem and utilizes the same sonorous combination of horns harp organ violas cellos and bass. Songs for the Journey outlines and explores similar themes as the traditional Latin Requiem - love faith mortality surrender to an eternal will etc. - but in a less ecclesiastical framework with poems and texts drawn from a variety of sources. In assembling the texts words of a particularly personal nature were chosen to echo Faure's intent. The musical style of More Love is simple and direct and the message is positive and affirming making it appropriate for a variety of performance settings. Duration: 3:15

Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00

This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester New York for their weekly compline service. Duration: 3:15 This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester New York for their weekly compline service. Duration: 3:15

Composed at the request of Lincoln Center to serve as a unifying element of the twelve concerts of the White Lights Festival’s “Psalms Experience ” featuring the Tallis Scholars The Norwegian Soloist Choir The Netherlands Chamber Choir and The Choir of Trinity Wall Street. I intentionally wrote a hymn that felt reminiscent of the grand hymns of Edwardian England choosing a melodic contour and harmonic language that pulls at the heart strings. Having discovered this wonderful alternate versified version of Psalm 90 (the usual being “O God our help in ages past) by Robert Burns it made an obvious choice to accompany the entire Psalter as it depicts the minusculenature of humanity’s cycles of life in comparison to that of God. This arrangement would work well for almost any function that comments on our fleeting life-span whether a funeral wedding baccalaureate or commencement service. —Julian Wachner Duration: 3:12 Composed at the request of Lincoln Center to serve as a unifying element of the twelve concerts of the White Lights Festival’s “Psalms Experience ” featuring the Tallis Scholars The Norwegian Soloist Choir The Netherlands Chamber Choir and The Choir of Trinity Wall Street. I intentionally wrote a hymn that felt reminiscent of the grand hymns of Edwardian England choosing a melodic contour and harmonic language that pulls at the heart strings. Having discovered this wonderful alternate versified version of Psalm 90 (the usual being “O God our help in ages past) by Robert Burns it made an obvious choice to accompany the entire Psalter as it depicts the minusculenature of humanity’s cycles of life in comparison to that of God. This arrangement would work well for almost any function that comments on our fleeting life-span whether a funeral wedding baccalaureate or commencement service. —Julian Wachner Duration: 3:12

“The Friendly Beasts” portrays the animals who have protected Jesus and Mary during the birth. Each animal proudly takes its turn announcing its contribution. The donkey carried Mary “up hill and down.” The dove “cooed” the Child to sleep. At the end of the song all of the animals reappear in quick succession: donkey cow sheep dove. They recount the gifts they brought to Immanuel. The Clarinet plays a featured role enhancing the message of the lyrics. For example the Clarinet associates with each animal braying as a donkey warmly mooing as a cow embellishing as a sheep with “curly horns ” and fluttering upward with trills as a dove in flight. Duration: 4:15“The Friendly Beasts” portrays the animals who have protected Jesus and Mary during the birth. Each animal proudly takes its turn announcing its contribution. The donkey carried Mary “up hill and down.” The dove “cooed” the Child to sleep. At the end of the song all of the animals reappear in quick succession: donkey cow sheep dove. They recount the gifts they brought to Immanuel. The Clarinet plays a featured role enhancing the message of the lyrics. For example the Clarinet associates with each animal braying as a donkey warmly mooing as a cow embellishing as a sheep with “curly horns ” and fluttering upward with trills as a dove in flight. Duration: 4:15

A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form: I. Todtentanz (Saltarello) II. All Flesh is Grass (Gavotte) III. If I can Stop One Heart from Breaking (Sarabande) and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form: I. Todtentanz (Saltarello) II. All Flesh is Grass (Gavotte) III. If I can Stop One Heart from Breaking (Sarabande) and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)

This is the central movement of Angel of Light a cantata based on Shaker themes. A dancing and playful rhythmic ride it is ideal as a light-hearted opening or closing piece. The text dates from 1844 and is a lively example of a Shaker dance song. The vocal sounds represent a uniquely American form of mouth music- a style of traditional singing where nonsense words are used to mimic the sounds of instruments or the rhythms of a dance. Duration: 2:00 Part of the Dale Warland Choral Series.This is the central movement of Angel of Light a cantata based on Shaker themes. A dancing and playful rhythmic ride it is ideal as a light-hearted opening or closing piece. The text dates from 1844 and is a lively example of a Shaker dance song. The vocal sounds represent a uniquely American form of mouth music- a style of traditional singing where nonsense words are used to mimic the sounds of instruments or the rhythms of a dance. Duration: 2:00 Part of the Dale Warland Choral Series.

In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the second movement Rorate caeli based on the Advent text Let the earth be opened and send forth a Savior. The organ provides quiet andspare fanfare passages as an introduction and throughout. As the texture builds the fanfare occurs in two voices imitatively. Otherwise the vocal parts are very much in the foreground and predominate the movement. In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the second movement Rorate caeli based on the Advent text Let the earth be opened and send forth a Savior. The organ provides quiet andspare fanfare passages as an introduction and throughout. As the texture builds the fanfare occurs in two voices imitatively. Otherwise the vocal parts are very much in the foreground and predominate the movement.

Hodie Christus natus est from Vidimus stellam